Ryan Coogler's recent project may have breathed new life into the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most acclaimed actresses, Bassett delivers a powerful performance alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
